This One Trick could fix your Script. 

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"A real loser is someone so afraid of not winning, they don't even try" Not an accident you chose to include that clip. Thank you for helping us try.

I was in the group chat a couple weeks ago when Tyler 1st mentioned treating your story like an essay. The week that followed was the most productive writing week I have had all year, it really helped things to finally click into place AND help to clarify plot beats that needed to happen in my story. Glad to finally see the video up Tyler!

this is very similar to Abbie Emmons' views on the "misbelief" a character has. great video~

This ties really nice into your last 4 corner video. Appreciate the work you are putting out for us

I always learn something new from your videos. Makes my writing even tighter, makes the script even better every time. Excellent channel, thanks

These through-lines are helpful. Not only do I use a through-line to center my story. But I also use one for each of my main characters. I've found it helpful to explain my entire characters transformation through a single sentence. And then I run every possible action a character could take through that sentence as a litmus test. It shows me instantly if an action is in character or not. I think that prevents the risk of flanderization or "jumping the shark".

I'm amazed by your Avatar fix. It's right there but the writers didn't see it. When you give your character conflict that's as philosophical as it is personal, it's significantly more interesting to see their circumstances challenge it. In Avatar, we had him learn a lot about nature. But very little about himself. And I think that's why it comes across as so basic.

Your avatar example makes me realise the flaw in your argument. As excellent a point it is. It runs a risk of getting cliched. Take Avatar as an example. If Jake Morals started off in the other side, it wouldn't have been the same impactful (and spiritual) journey it was. It would've felt like a repeated story instead. Jake's story "felt" the way it did because at some deep level we all want environmental balance. But if he started with different set of morals, most people would catch it as a trope and the story would've felt like a drag. Take LOTR for an example. Most key characters have no character arc. But people love it because they already start of as rich and well thought out characters. What I'm tryna say is. You're right about exercising themes and character arcs for storytelling. But if you want to be the cut above the rest. You need nuace. You need to write sincere stories and rich characters. What I'm trying to say is, in some cases: Don't worry too much about the Arc and focus on writing the character and the world. Write the character's defaults and their triggers. Something beautiful will come. If not that. Something sincere will..

I like your stuff but kinda weird to just directly pull from Michael Arndt's videos without even giving a link.

This is great advice. Make sure you have a clear theme that the characters exhibit. I’m working on a show right now that had a similar problem. The messaging felt weird and contradictory, the characters motives and beliefs were confusing and shallow, and the overran story just felt kinda disjointed. But once I took a step back and looked at the bigger picture, It all fit into place. I realized I didn’t have a clear theme, I was just trying to let the theme develop as the story went along. So I took this theme and worked it into the characters, and it dramatically improved both my story and especially my characters

Great video. :) Just one thing, the ou in Proust is pronounced more like the ou in ghoul or tool.

''Better call saul'' has impressive character development.

I’m 2 1/2 minutes in and feel compelled to share something. This is possibly trivial or possibly interesting: the Spanish word for plot is “argumento”. 😊

The tips are nice but everyone following these set of rules means films will all be alike. Which btw is already happening for decades in Hollywood. "You need to give your key character the opposing view so you have a character arc". It sounds so arbitrary. Little Miss Sunshine is indeed a great film but not all films should be about transformation. Look at life and the people around you. Is everyone actually changing or some people just stay believing their entire lifes in the same lies? I think the best way to look at it is understanding these set of rules is important so you can consciously choose if you'll follow or ignore them or even find your own way to subvert it.

everything said here is what i was thinking while watching TAR

I sure do hate it when a video says "linked below" and the link is not, in fact, below

I can't tell you how much this helped me in writing my story! Thank you for taking the time to share your knowledge.

Except that a story is not a thesis. It's an exploration of the theme or great philosophical question. Audiences hate the heavy handed point that writers are trying to push. Consider every argument that the antagonist and protagonists will have. Create complex characters--even from the thug enforcers like in Pulp Fiction--and let your story become character-driven. Let it go wherever they take it. As Paddy Chayefsky used to, write down your thematic or philosophical question and keep it where you write. Try to figure out your theme before the 1/3 point and add arguments to both ideas.

I really love that video from Michael Arndt

Thank you. Subbed ❤

Dwayne out here dressing like Mitchell Musso

Thank you! This is what my short film needed 😭

Do I fixed Spiderman 3

Know what ruined so many potentially great comic book movies? Too many bad guys and/or too many heroes in the mix. I call it Writers' Schizophrenia. Neil Peart is one of my favorite writers who kept to themes and illustrated his themes with visual storytelling and deeper concepts than his peers; here is one that explains to stick to the theme... ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-bYnH49COePY.html

Видео реально заставляет задуматься

The thesis of this video is THESIS.

Helpful thank you!

hey, tyler, i think you might appreciate the youtuber schnee's new video, "i finally found the secret to arcane's depth". i think it goes quiet well with your argument here of having a dramatic focal point that the audience can see a character's progression through a narrative.

Can a antagonist share the same argument as the protagonist, but with dire consequences to their actions?

I really enjoyed this and it makes a lot of sense to me. A question though....does this principal apply to the horror genre? For example ROSEMARY'S BABY is a terrific, well written movie, but I can't find anything resembling a thematic argument in there.

So, you "fixed" the screenplay for AVATAR? The most successful movie literally of all time? Wow. What are you going to fix next, CASABLANCA?

:01 -- 10:01 So, don't bother living, writing, or attempting any level of conversation in the least without some personal attention to focus. Sure. Why not.

this vid slapped

This man never disappoints me ❤️

The lead not changing is "The fool, triumphant" and "dude with a problem." They change everyone else, usually after being underestimated

How do I challenge my protagonist's belief with characters that agree with their current view, and others that disagree with their current view? That is the only one that matters in any story told. The others belong to a theological view point or a children's book. Your characters aren't you. You aren't a god. You're meant to be an impartial reporter. The audience may want the god guy to win regardless the challenge. Why always fantasy fiction.

I believe it’s also important to find a way to state (or ask a question about ) the thematic argument so it’s also clear to the viewers! Page 5 or so I believe!

Tyler, why do you need to wait until after you finish a first draft to figure out your thematic argument? Wouldn't your first draft be so much stronger if you start with a thematic argument to begin with? I think that would help prevent muddiness and confusion.

Thank you so much.

I am currently writing a trilogy of feature films, and I am curious of how you think this methodology applies to writing a trilogy. Is it best to have an overarching argument for all three films, and then a sub argument for each respective film? Or is there another way you would suggest going about it?

Millenials discovering the premise

thanks

Wow! Thank you.

Woohooo

The Little Miss Sunshine section is a great base level example for demonstrating the concept but it's too heavy handed. True filmmaking is about actions, not words. It's more impactful if you demonstrate your opposing philosophies through the things the characters DO, not having them blatantly state the themes of the film. A rule I generally follow is to create subtext, I basically have my characters lie all the time and say the opposite of what they mean, because that's what we do in real life. You're having a shitty day, someone asks you how you are, you say, I'm great

Great insight!